Quaestiones Convivales

ONE day when Sossius entertained us, after singing some Sapphic verses, this question was started, how it could be true

That love in all doth vigorous thoughts inspire,

And teaches ignorants to tune the lyre?

[*](From Eurip. Stheneboea, Frag. 666.)

Since Philoxenus, on the contrary, asserts, that the Cyclops

With sweet-tongued Muses cured his love.

Some said that love was bold and daring, venturing at new contrivances, and eager to accomplish, upon which account Plato calls it the enterpriser of every things; for it makes the reserved man talkative, the modest complimental, the negligent and sluggish industrious and observant; and, what is the greatest wonder, a close, hard, and covetous fellow, if he happens to be in love, as iron in fire, becomes pliable and soft, easy, good-natured, and very pleasant; as if there were something in that common jest, A lover’s purse is tied with the blade of a leek. Others said that love was like drunkenness; it makes men warm, merry, and dilated; and, when in that condition, they naturally slide down to songs and words in measure; and it is reported of Aeschylus, that he wrote tragedies after he was heated with a glass of wine; and my grandfather Lamprias in his cups seemed to outdo himself in starting questions and smart disputing, and usually said that, like frankincense, he exhaled more freely after he was warmed. And as lovers are extremely pleased with the sight of their beloved, so they praise with as much satisfaction as they behold; and as love is talkative in every thing, so more especially in commendation; for lovers themselves believe, and would have all others think, that the object of their passion is pleasing and excellent; and this made Candaules the Lydian force Gyges into his chamber to behold the beauty of his naked wife. For they delight in the testimony of others, and therefore in all composures upon the lovely they adorn them with songs and verses, as we dress images with gold, that more may hear of them, and that they may be remembered the more. For if they present a cock, horse, or any other thing to the beloved, it is neatly trimmed and set off with all the ornaments of art; and therefore, when they would present a compliment, they would have it curious, pleasing, and majestic, as verse usually appears.

Sossius applauding these discourses added: Perhaps we may make a probable conjecture from Theophrastus’s discourse of Music, for I have lately read the book. Theophrastus lays down three causes of music,—grief, pleasure, and enthusiasm; for each of these changes the usual tone, and makes the voice slide into a cadence; for deep sorrow has something tunable in its groans, and therefore we perceive our orators in their conclusions, and actors in their complaints, are somewhat melodious, and insensibly fall into a tune. Excess of joy provokes the more airy men to frisk and dance and keep their steps, though unskilful in the art; and, as Pindar hath it,

They shout, and roar, and wildly toss their heads.

But the graver sort are excited only to sing, raise their voice, and tune their words into a sonnet. But enthusiasm quite changes the body and the voice, and makes it far different from its usual constitution. Hence the very Bacchae use measure, and the inspired give their oracles in measure. And we shall see very few madmen but are frantic in rhyme and rave in verse. This being certain, if you will but anatomize love a little, and look narrowly into it, it will appear that no passion in the world is attended with more violent grief, more excessive joy, or greater ecstasies and fury; a lover’s soul looks like Sophocles’s city:

At once ’tis full of sacrifice,

Of joyful songs, of groans and cries.

[*](Soph. Oed. Tyr. 4.)

And therefore it is no wonder, that since love contains all the causes of music,—grief, pleasure, and enthusiasm,—and is besides industrious and talkative, it should incline us more than any other passion to poetry and songs.